Days ago, the traditional neighborhood saw its tranquility interrupted with a great movement of equipment, trucks, technicians, orange cones and danger tapes, and even power outages, street cuts and a pumper spewing water. There is talk of gender violence, but no one made any complaint. So… what happened in Villa Sarita)
Ivanowski street in the traditional neighborhood of Posada. From afar, orange cones can be seen warning that something is happening just two blocks from the Guaraní field. Screens and reflectors mounted on tripods, and technicians with handys, fanny packs and belts from which ribbons of different diameters and colors hang. The blocked street and a Volunteer Fire Engine pumping water into the sky simulating a night storm.
Suddenly you hear from inside…
– Silence chikis that we recorded
– Scene 21 Take 7… recording!!!
Lucía turns up the volume of the music a little. The dog begins to bark. Lucia looks out the window.
He sees the dog barking towards the street where there is an old van parked, but no one inside. A sudden rain begins to fall.
Lucía returns to the kitchen and hears a squeak from the dog that stops barking, the light voltage goes down and the music cuts out. Lucía goes to the entrance and opens the door.
-Lucia Empty? empty?
She doesn’t see the dog, suddenly lightning strikes and the electricity goes out, Lucía is scared. The lights in the house and public lighting suddenly go out.
-Lucía The fucking mother!
What happens next, even though we are in the middle of a film set, is difficult to narrate; the situation could very well be real, and that makes it so bitter to take. We are in the middle of filming one of the strongest scenes of “Mitra. Turn off the light to be able to see”, debut feature by missionary director Diego Bellocchio, produced by Yamila Barnasthpol (Montecine) and Javier Diaz (Coruya Cine). We are talking about genre cinema, and Bellocchio together with Yamila (co-writers), know about it. In 2008, and while they were still Audiovisual Production students, they premiered the short film “Pálido Indicio” in the theaters of the SunStar chain, while in 2011 “Mañana, Siesta, Tarde, Noche”, a saga of four chapters dealing with myths of the region, won the INCAA Federal Fiction Series contest, while in 2015 they fully addressed the horror genre -satanic- with the independent short film “Respiro”.
So independent was the production of “Respiro” that in the run-up to the days of filming they sold chicken and rice to cover last-minute production expenses. “Respiro” was so good that it was premiered at the 49th edition of the Sitges – International Fantastic Film Festival of Catalonia.
MITRA: Science fiction, but with your feet in
the earth the mud
As a good missionary, Bellocchio grew up listening to supernatural stories in a jungle context. “When you’re alone in the bush, you’re never alone no matter how much you want to,” says the director while the devastating song of an urutaú is heard in the background.
Mitra is a film clearly framed in the Horror genre, but it is also much more. It is a dramatic film that delves into terror. Although the occult and satanic is a central part of the story, the terror with which the protagonist – a psychologist who works assisting victims of family violence in vulnerable contexts – lives, more than a film genre, is the daily reality. MITER it is, then, also, a crude narrative of fictions that are real and suffered by hundreds of women, day by day.
As often happens in genre cinema, in MITER a series of winks and influences from works already thought out and recorded come together. An atmosphere that refers to The Witch, with those greens of nature and backlighting with the outside light entering through the window. Regarding the characters, La Cosa, Lucía’s rapist, has characteristics close to Rob Zombie’s cinema.
Family violence, mistreatment and abuse of women, police inaction and scarcity of resources to combat the situation, make up this cocktail where fiction and reality reflect each other in a mirror about to break.
A clearly and inclusive production
“Of the 35 people that make up the technical team, the vast majority are missionaries, and a large part are women,” says Yamila Barnasthpol, General Producer.